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Posting Board West Regional Report
Edited by Sarah Bruner - sarah@syrup.orgIn This Issue
Phil and Friends Summer Sessions Dark Star Orchestra, Phil Lesh and Friends, Hanuman Trio, Omar Torrez Band Dave Nelson Band at the Maritime Hall Galactic Bumbershoot '99
Phil and Friends Summer Sessions
August 17, 1999For a long time one of the constants in my life had been the Grateful Dead. I saw 71 shows over almost 18 years. Each and everyone was different and, in its own way, special. I found out a lot about myself at shows, I made and confirmed friends at shows; I found love and learned about loss at shows, and, eventually, I got married, in part, because of the Dead.
To me, the Dead epitomized everything that is wonderful about art in general and music in particular. For me, art is what makes the human race unique. It separates us from the beasts in the field. Using our consciousness, we CREATE something out of pure ideas. It is that simple. And yet the results are so complex. We are often filled with joy, we weep in despair , we are often transformed by what we experience. The powerful emotions we feel from the art we create and/or experience keeps us coming back for more.
And for me, music is the apex of all artistic endeavors. Because music can move you both emotionally and physically. It can be a transcendent experience of such power, beauty and grace you end up seeing the world in a whole different light. And sometimes it makes ya just gotta get up and dance! Ya know what I mean? And this all happens whether you are making the music or just listening to the music. Its amazing stuff.
But getting back to the task at hand, the Grateful Dead took the idea of performing music to the artistic edge. Stepping out on stage, never knowing exactly what was going to happen but putting their faith in the Muse and seeing what happens. No set list, no defined time limit on performances. Every show unique. Every song was unique. No song was played exactly the same way twice. In fact, it wasn't a show, it was an experience.
The fact that they professed the belief that THEY were just PART of a whole that included their fans and promoted a family attitude (especially prior to 1987) helped make them special. Look at what they pioneered: having a hotline with information on where the band was playing next (I still have the number memorized 415-457-6388); having their own mail in ticketing system; sending out information on camping locations, hotels and motels in the areas where they were playing; making sure camping facilities were available for their fans at a wide variety of locations.
All these things (and many others) combined to make these shows distinctly different than anything else happening at the time. It made one have the belief that, in spite of the fact that shows became more and more ritualized as time went on, there was, even to the end, the POSSIBILITY of something wonderful happening at every show. And this wonderful thing was a merging of art and humanity that could result in a sort of group ecstasy of near religious proportions. But I have to admit it was not for everyone. As Jerry Garcia once said. "The Grateful Dead is like licorice, not everyone likes licorice, but those that do, REALLY like licorice."
So, as one can imagine, when the shows ended in 1995, an important part of my life ended with them. In a way it was okay, because it was time to move on, I was married and had two small kids. I didn't really have the time and energy to be spending on shows right then, so it was easy to let go. But they were always in the background. And over the years, I have gone to see various side projects and/or offshoots of the band and at times it seemed almost like old times, but it was not, and never could be, the same. If you were there, you understand, if not, you will just have to take my word for it.
A recent entry in the Dead offshoot stakes is called Phil and Friends (P&F). The band is made up ex-Dead bassist Phil Lesh and some hand picked friends. The friends change with the show. For instance, he recently did a series of shows that included members of the band _Phish_, who most proclaim the heirs to the Dead's jamband heritage. The reviews from those shows were extraordinary and the buzz for the upcoming summer series of shows with members of Galactic, Gov't Mule, moe. and String Cheese Incident (SCI) was that they were shows not to be missed. Apparently the plan was for two of the four bands to open for P&F and then members from all four bands would play with Phil. It sounded intriguing. And to make things more interesting I just received a 10 CDR collection of the Phil with Phish shows and, frankly, there was a lot of rather incredible music on those discs.
So, on August 17, 1999, as the first stop of the Carlson/Johnson clan's summer vacation, we made a stop in Eugene Oregon to see P&F. Kay had no interest in going, so I was lucky enough to meet up with a flock of my virtual penpals for an evening of fine music. I can't really think of a way to write about this show in a manner that will do it justice, so I thought I would take the lame route of playing Mr. Set-list (courtesy of the deadheads mailing list). So here goes:
Summer Session
Cuthbert Amphitheatre Eugene OR
Tuesday August 17, 1999To start off, the Cuthbert Amphitheater is a GREAT place to see live music. For those of you who know, it reminded me a lot of the Greek Theater in Berkeley only shrunk down to about the size. I guess the place holds about 4000 people max. It is located in Alton Baker Park, set against a small flowing body of water. There is an open area directly in front of the covered stage followed by several rows of benches and a grassy, inclined lawn behind. You look approximately east to the stage so you can actually see what is happening on stage during the day. Though, as a result of this, most of the musicians actually had a legitimate reason for wearing sunglasses during the early sets.
Another cool thing about this whole deal was that in between sets, there were a number of solo acoustic acts that kept the audience entertained while the bands were setting up. Nice touch. Finally, the sound was excellent for all of the musicians, at least from where I was sitting (on the grass, straight back).
First up was Gov't Mule. I like to think these guys have their hearts in the right place and Warren Hayes' voice certainly has a way of reaching out and touching you. But, unfortunately, I wasn't terribly moved by their set. And while they were at times almost soulful, they mostly sounded like a southern version of the original Robin Trower trio. They weren't bad, just not great. However, that is not to say I wouldn't give them another chance. Maybe when they are on their own without the expectations of what was to come to interfere with their show. They are coming to Seattle soon and I am thinking of checking them out.
Pygmy Twylyte> Lay Your Burden Down, Left Coast Groovies, Mule> I've Been Workin'> Mule, Lively Up Yourself, Life Before Insanity, Soulshine* *w/Kyle Hollingsworth on keyboards (courtesy of http://www.mule.net)
Next up was moe. Another leader in the burgeoning jamband genre. I have only recently started listening to them and they seem like a fine band to me. However, it seems that people tend to either love or hate them. I couldn't tell you why, I find them enjoyable, though somewhat innocuous. However, extreme feelings seems to be the consensus among folks I talk to. This was the second time I have seen them in the last half year or so and I have to say that they are growing on me. I thought they acquitted themselves quite well during their set. They used their limited time quite effectively and had some tasty extended jams during their set. I would like to get a copy of their set.
(I think this is the set list, kind of hard for me to tell at the site I visited (not the OFFICIAL moe. site, which, for some strange reason, does not have set lists)
Spaz Medicine > St. Augustine, The Ghost of Ralph's Mom, Meat > Rebubula
Next up was:
Phil Lesh & Friends (John Molo [apparently his drummer of choice, he was with The Other Ones last summer and with Bruce Hornsby before that], Steve Kimock [guitar formerly of Zero and currently in KVHW], Kyle Hollingsworth, Michael Kang & Michael Travis [keyboardist, electric mandolinist/violinist and drummer/percussionist for SCI respectively]):
Michael Travis? Was he up there? I don't recall him being up there. Maybe he was hidden, but I think that is a typo. And Al Schnier of moe. should be listed as a part of the band, since he played guitar with the band most of the show. Moving on.
Dark Star+ ->
Whoa! What a start! Certainly a loaded song for fans of the Dead, full of history and reminders of the glory years when a genre was being defined. It is said that this was the first song Robert Hunter (lyricist for the Dead) wrote for the band. It has always been a song the Dead used to explore the collective possibilities of musicianship. And this version was a long one, a silky warm rendition that had me feeling a little wistful. This song, for me, for reasons I have never really been able to ascertain, is about choices and decisions, both made and unmade. Oh the things that could have been...
Dark star crashes, pouring its light into ashes. Reason tatters, the forces tear loose from the axis. Searchlight casting for faults in the clouds of delusion. Shall we go, you and I while we can Through the transitive nightfall of diamonds?Dark Star - Robert Hunter/Jerry Garcia
Wolfman's Brother+
Cool cover of the Phish song. Kind of appropriate for me since I had been just listening to the great Phil and Phriends cds. I don't know the song too well, but it has a great sing along line, so it fit in real well.
And the wolfman's brother The wolfman's brother Came down on meThe Wolfman's Brother - Phish
Crazy Fingers+ (Kang on vocals)
A rather risky choice, I thought. In my mind, this is one of a small number of songs that I identify more with just Jerry Garcia, rather than the Grateful Dead and the thought of someone doing the song without Jerry was rather difficult. But to a large degree, they pulled it off both musically and vocally. It was nice to hear again, but it too, turned me a little melancholy.
Life may be sweeter for this, I don't know, Feels like it might be alright, While Lady Lullaby sings plainly through you Love still rings true. Never could reach it, just slips away but I try._Crazy Fingers_ Robert Hunter/Jerry Garcia
Whiskey In the Jar*
Restless Wind*
China DollAt this point, the show started to drag a little, my attention started to wander. Though I noticed that I seemed alone in this opinion. People were dancing and enjoying themselves all around me. Maybe it was that I wasn't familiar with the first two songs and China Doll has never been a personal favorite.
So for me, this was a time for reflection. Looking around I started wondering why I couldn't just lose myself in the music like those around me seemed to be doing. I mean, I love this stuff, why is it that sometimes I can't just sit back and enjoy what is going on around me? Why do I often turn inward toward self analysis? Why can't I separate my life from the art?
But then I realized, each song, nay, the music alone and by itself, was bringing back old memories both good and bad. Most distant enough in time, at this point, to be able to benefit from an eye matured by life experiences. But some still poignantly strong enough to change my mood. And this lead to a mini epiphany of sorts:
The Dead and its offshoots aren't just music or entertainment, they are loaded entities for me. They carry all the baggage of the lifetime I have shared with them. They are part of my cultural heritage. I go to these shows today because of what I experienced in the past and what happened in the past is part of what I am now. To put it rather circuitously, and I was stuck with it. I suddenly realized that the same rang true to many other parts of my life. They are burdened (or buoyed) by my past as well. Maybe I just need to accept where I am today, let go of my memories occasionally, and live for the moment. I have a wonderful life, full of wonderful and not so wonderful things that have happened to me. And I like where I am today. I just need to accept that. Certainly easier said than done, but just realizing this simple truth made me relax a lot and enjoy the music.
Well, somewhat trite though it sounds, I found that rather fascinating. I don't know what I am going to do about it, but I figure realizing what the problem is, is part of the solution. We shall see.
Take up your china doll, take up your china doll, it's only fractured and just a little nervous from the fall.- Robert Hunter/Jerry Garcia
As China Doll ended, I turned my focus back to the music as the band started into:
My Favorite Things+ -> (instrumental)
Dark Star+ -> (Phil, Kang, Al on vocals)This section was very nice. Lots of interesting things going on here. Very John Coltrane. And it was interesting to see Phil take the bull by the horns, so to speak, when HE decided that they should go into Dark Star once again. Everyone else in the band sort of looked up at him, said okay and away they went. It almost gave one the impression that poor Phil could be something of a dictator if given half a chance. And slowly Dark Star transitioned into:
Eyes Of The World+ ->
Now this was great! Wonderful, in fact! The perfect song for the moment. It was this song that, believe it or not, determined Kay and my future many years ago and was later sung by friends at our wedding. It is a powerful song of joy, love and redemption. One of my favorite songs of all time. One I never expected to hear again in such a setting. It filled me with joy, a wonderful feeling of wellbeing, and frankly, relief. I almost started laughing out loud. Everything was going to be okay. I got up for the first time at the show and really began to dance. And all the people around me were up and dancing and we were all sharing the moment. It was a classic Dead-type experience. A mass catharsis. It made you believe in the power of music. And it was a GREAT version of the song.
Wake up to find out that you are the eyes of the world but the heart has its beaches its homeland and thoughts of its own Wake now, discover that you are the song that the morning brings but the heart has its seasons its evenings and songs of its own- Robert Hunter/Jerry Garcia
It's Up To You+ ->
What is this song? An unknown (to me anyway) instrumental, I guess. For me it was just a jam leading into:
Goin' Down The Road Feeling Bad+ -> And We Bid You Goodnight+
Which was another great choice of tunes. So sweet. A great one-two punch of sing along songs. And they kept us moving.
During And We Bid You Goodnight, a friend turned to me and said that she always felt that this was the Dead's "pass the buck song." I never thought about it that way, but I guess, in a way, she is correct. Maybe it is their way of saying, "Hey, don't look to us for redemption, we're just people too." Good policy, I say.
And finally: E: Tom Thumb's Blues+
The show is over. I felt cleansed. It had happened again, the reason I go see live music. Because, for all the dross I find myself listening to, every once in a while something magical happens. You come away different then you entered. The world is a different place. But, you know, the music was great, but in the end, its all up to me. And I can live with that.
I started out on burgundy But soon hit the harder stuff Everybody said they'd stand behind me When the game got rough But the joke was on me There was nobody even there to call my bluffJust Like Tom Thumb's Blues - Bob Dylan
+ with Al Schnier
* with Billy Nershi
*(moe. and Gov't Mule opened)*
*(soundcheck included Crazy Fingers, Wolfman Brother, Crazy Fingers, Eyes Of The World, Dark Star -> China Doll, My Favorite Things, Dark Star, Goin Down The Road, We Bid You Goodnight, Tom Thumbs Blues, Whiskey In The Jar, Restless Wind)*
Dark Star Orchestra, Phil Lesh and Friends, Hanuman Trio, Omar Torrez Band
This August of ’99 has been kind of lackadaisical for me, mainly because I’ve been trying to find work and save money, so I’ve been staying in, reading, writing, and learning some computer programs. But I did make it to a couple of shows that I’d like to share my reflections on.
First off, on 8-11-99 the band "Dark Star Orchestra" played at the Crystal Ballroom in downtown Portland, and it was a blast! At first I was a bit freaked out, because the Dark Star Orchestra is really incredible in it’s ability to play Grateful Dead music, and have it sound just like the Grateful Dead. I couldn’t really believe my ears, I thought, "hmmm, it’s probably taped, or a computer is generating their voices", but after a while my doubts faded away and I started boogying down with the rest of the packed house because it sounded so good! The “Dark Star Orchestra” plays actual historical Grateful Dead concerts, doing sweet drums and space even, and then plays it’s own choice of Grateful Dead for the encore, it might sound kind of corny, but for a lot of people it’s a great event. I’ve never seen a band with this kind of concentration and devotion, “Dark Star Orchestra” is something more than just a cover band, it is a group of mysterious and dedicated musicians who compassionately rock the house!
When the JamBands.com August '99 issue came out I was struck by many of the funny and inspiring tales people told. AJ Abrams’s review, Pete Townshend with Eddie Vedder and the John Entwistle Band was a riot, and Sarah Bruner’s The Ground Beneath Her Feet was a thoughtful and intelligent piece. The evening of the 16th, right after I had poured over this new issue of JamBands.com, some of my friends called me up and asked if I wanted to go to Eugene for the Phil Lesh and Friends shows. Well trying to save money and looking for a job I declined, saying, I couldn't make it this time, and went to bed in a slight funk. Yet some magic powers were at work (I think it was something to do with the articles I had read that day.), because the next morning I woke up to a great dream where I was rockin' out on the drums, and I don’t even play the drums, but in my dream I was jammin'! I jumped out of bed and began packing a pack for a trip to Eugene! It didn't matter that I had no money, I figured if AJ could get into Pete Townshend with a patched together wristband, I could get into Phil Lesh and Friends with a media pass or something, for I'd love to report on Phil Lesh and Friends. I was thinking of the quote in Sarah’s article, “suppose that it’s only when you dare to let go that your real life begins? and hit the road.
The Cuthbert Amphitheater in Eugene is a small yet awesome venue. Although close to downtown Eugene it feels like it's out in the country, surrounded by grassy fields and the Willamette River. I had no ticket, but was thinking to myself that I'd ask someone if I could have a media pass because I was a freelance journalist and I wanted to report on the show. So I’m walking up to the Amphitheater with this in my mind when I notice three guys with Gov't Mule backstage passes on, I asked them if they knew anything about media passes and they looked at me like they had know idea about media passes, but just then the gate opened and this guy comes out and starts shaking these fellows hands, so I step up with my sunglasses and tie-dye on and shake his hand also, and he turns and leads us all through the gate, score! Just a dream and a bit of good luck got me through the gate, it was a miracle! And boy was it beautiful inside! Grass up above, and big sturdy wood benches down below, with thousands of beautiful hippies everywhere, man it was nice! I ran into my buddies, which was awesome, and then Phil Lesh and his friends busted into Dark Star/Wolfman's to kick off the show, and happiness filled my soul! After that I drifted in and out of conversations and different locations of the amphitheater. It was beautiful, the half moon was in the west, the sunset was surreal with flocks of geese flying overhead, and Steve Kimock, Micheal Kang, Kyle Hollingsworth, Molo, Al Schnier, Bill Nershi, and Phil Lesh were in the house! It was heavenly! The next night I didn't feel like trying to sneak in, and had to suffer on the other side of the fence, which was all right, but didn’t really sound as good as on the inside. I saw a good one, and missed a good one, Rolling Stone, Lovelight, Casey Jones, next time.
A local gig that was impressive was Friday, August 27th at the Mt. Tabor Tavern 5811 SE Hawthorne, Portland, OR. Two outstanding bands from Seattle were playing, the Omar Torezz Band and Hanuman Trio. Both of these bands are unique and can play. Omar Torezz Band features Omar Torezz who is a ripping classical guitar player backed by two jammin’ drummers and a strong bass player. Hanuman Trio is a primordial trio that will get your body moving in ways you didn't think were possible. This Friday, Omar and one of their drummers sat in with Hanuman and the sparks were flying! Both bands have new CD’s out, Hanuman Trio’s Live and Omar Torrez Band’s Sangre Mia, which look pretty good.
David Nelson Band at the Maritime Hall
August 20, 1999Grassroots rock and roll is still alive! Even as media entities such as MTV and Rolling Stone distort and manipulate society¹s standards of music and creativity, a few stubborn artists continue for the simple reason to create (and fill our ears with) quality music. And, while theirs may be the CD's hidden in the dusty shadows of your local music stores; and theirs are the not the names you recognize from Billboard's top one hundred list, one cannot help but admire and appreciate these unheralded musicians who persevere simply for the love of their craft. Why these artists are valuable to us, the general public (yes the same general public which has made Beanie Babies, Backstreet Boys, and Teenage Mutant Ninja Turtles hugely successful), is simple. They provide something timeless and priceless: one-of-a-kind, never-to-be-repeated performances (for the the low, low price of a mere ten bucks).
Take for example the David Nelson Band, who entertained at San Francisco's Maritime Music Hall on August 20th. Led by David Nelson, a former member of the New Riders of the Purple Sage, the band personified grizzled, bandanna wearing music veterans. A gracious bunch, the band revealed no hints of overblown egos. And, even though the show did not attract a huge turn out, DNB seemed dedicated towards rewarding those in attendance.
Indeed, all were rewarded. With David Nelson's polished guitar work leading the way, the sextet delivered long jams meant to awaken the hippie in you. Coupled with clever lyrics sung by Nelson, as well as keyboardist Mookie Siegel, and bass guitarist Bill Layman, these jams moved almost everyone in attendance to some degree of groovin.
Beware however, that The David Nelson Band is not the band to save your MTV brainwashed friends from the next Ricky Martin. The group dished out a style not suited for the listener who grows impatient with songs lasting more than five minutes. The David Nelson Band will be appreciated best by those well-trained, seasoned concert goers who are willing to indulge musicians with an opportunity to let their creativity wander.
In short, DNB provides quality rock and roll with a casual hospitality. Their jams will entertain long jam purists, who lose themselves in the melodies of improvisational musicians. If you fit such qualifications, give The David Nelson Band a try... the hippie in you will probably smile.
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